清代北京剧坛花、雅之盛衰研究

【作者】 范丽敏；

【导师】 张燕瑾；

【作者基本信息】 首都师范大学 ， 中国古代文学， 2002， 博士

【摘要】 在中国戏曲史中，戏曲文学史与戏曲演出史是两个密不可分的部分。如果说戏曲文学史是静态的、平面的、文学意义上的戏曲史，那么戏曲演出史则是动态的、立体的、艺术意义上的戏曲史。二者的关系，如果把戏曲文学比作土壤、基础，所谓“剧本，一剧之本”，戏曲演出则是开在此土壤之上的花朵。二者是密不可分的。但长期以来，在中国戏曲史的研究领域存在着以戏曲文学史为重心的倾向，在具体的操作中又多以几个著名文人的著名作品作为研究的中心，而对将剧本付诸场上的伎艺即演出方面的历史和成就则在相当程度上忽略了。作为一种研究倾向，从总体上说这无疑是偏颇的。因此，本文尝试从演出的角度勾勒戏曲史。 谈到戏曲演出，清代无疑是最有代表性的，其中犹以北京剧坛上的戏曲演出活动最为繁盛，资料亦最为丰富。迩时五音繁会、班社林立、名脚辈出，因此本文的中心即是阐述清代北京剧坛上的各声腔(的戏曲)发展演变的历史和规律。 戏曲演出，离不开“唱”，所谓“唱念做打”，“唱”居第一位，唱功好的演员一般是一个戏班的台柱。因此，谈戏曲演出离不开对“唱”的理解与阐释。在古代戏曲论著中讨论“唱”的远远多于其他讨论“念”、“做”、“打”的，且长期以来我们以“戏曲”指称我们的民族戏剧，即是因为“唱(曲)”不仅在戏曲演出中而且在戏曲文学中(至少古人是这么认为的)特别重要的缘故。 从戏曲文学史方面来说，区分不同戏曲类别的是文学体制上的不同，即是杂剧，还是传奇。从戏曲演出史方面来说，区分不同戏曲类别的则是所“唱”声腔的不同，并往往以某种声腔指称该种声腔的戏曲。声腔在清代基本上有四种大的类别：昆腔、高腔(弋腔为其分支，在北京的弋腔通常又称为“京腔”)、秦腔(梆子)、皮黄腔。因此清代戏曲演出史主要即是此四种声腔在场上演出的历史。 以上声腔根据不同的声情特点，又有特定的称呼，一般将昆腔称为“雅(部)”，其余诸腔主要是高、秦、皮黄称为“花(部)”。一部清代戏曲演出史，亦即一部花雅盛衰的历史，因此本文的题目是“清代北京剧坛花、雅之盛衰研究”。 在搜集大量有关清代北京剧坛演出史料的基础上，本文以花雅诸腔为基点，通过班社、演员、剧目，勾勒各声腔(的戏曲)盛衰演变的历史。具体说来即首先以空间为纬，将清代北京剧坛分为内廷与民间两个部分；其次以时间为经，将内廷之花雅盛衰的历史分为清初至咸丰九年、咸丰十年至光绪十七年、光绪十八年至宣统三年三个时期；民间之花雅盛衰的历史分为清初——顺治至雍正朝、清中叶——乾嘉两朝、清末——道光至宣统三年三个时期。在时空的交叉点上，以班社、演员、剧目为线索，阐述不同时间阶段下花雅兴衰的历史，及同一时间条件下不同空间一一内廷与民间花雅兴衰的时间差异。 在占有大量历史文献的基础上，本文力图使清代北京剧坛上的戏曲演出活动立体化、动态化，从而达到真实、客观、系统地认识这一时期戏曲演出活动的目的，并山此为戏曲史的研究提供一个与以文学剧本为研究中心的不同的立足点和观察点，从而有利于建立一种更全面、更科学化的戏曲史研究体系。更多还原

【Abstract】 In the history of traditional Chinese operas, the literary history of traditional operas and the performing history of traditional operas are too inseparable parts. If we see the literary history of traditional opera as static, one-dimensional history in the sense of literature of traditional operas, the performing history of traditional operas should be dynamic, three-dimensional one in the sense of art. If we take the literature of traditional operas as the soil, the basis, as so called "the librettos, are the foundation of operas", the performance of traditional operas is like the flower flourished in the soil. These two are closely related. However, for a long period of time, there has been existing a tendency that the literary history of traditional operas has been taken as the focus in the research field of the history of traditional Chinese operas, and in concrete practice the research has concentrated on the famous works of several famous literary scholars, while the history and achievement of performance through which the librettos are put onto stage have been ignored to great extent, generally speaking, which is undoubtedly unfair as a type of research tendency. Therefore, the present paper is trying to outline the history of traditional operas from the point of view of performance.Speaking of performance of traditional operas, it’s certain that Qing Dynasty is representative, among which the performing activities of traditional operas in Beijing theatrical circles are especially prosperous, and information about which is also the most abundant. At that time, there emerged many different hinds of melodies, various societies and troupes of traditional operas and famous actors or actresses of traditional operas, consequently, the present paper focuses on elaborating the performing activities and regulations of Qing Dynasty in Beijing theatrical circles.As for performing of traditional operas, "singing" is an indispensable part, in so called "singing, recitation, acting and acrobatics", "singing" ranks the first, and the actor or actress who sings well is the pillar of the troupe. As a result, taking about performance of traditional operas is closely related with the comprehension and interpretation of "singing". In ancient librettos of traditional operas, discussions about "singing" went far beyond discussions about "recitation", "acting" and "acrobatics", furthermore, since a long time ago, "traditional operas" has been used to refer to our national plays, and the reason is that "singing" is very important not only in the performance of traditional operas but also in the literature of traditional operas (which is at least held by ancient people.).From the respect of literary history of traditional operas, the way to distinguish different types of traditional operas is the difference in literary systems, that is, whether it is a poetic drama, or a legend. From the point of view of performing history of traditional operas, to distinguish different kinks of traditional operas is to differentiate melodies of "singing", and a certain kind of melody often represents a certain traditional opera. Basically there were four major types of melodies in Qing Dynasty, they are Kun Melody, Gao Melody (one of which branches is Yi Melody, and Yi Melody is usually called "Jing Melody" in Beijing), Qin Melody (Bangzi), and Pihuang Melody. Hence the performing history of traditional operas in Qing Dynasty is mainly the history of these four melodies performed on stage.All of the above melodies have specific addresses according to their different features of sound and feelings they express, Kun Melody is usually called "Ya", while the other melodies, mainly including Gao, Qin and Pihuang melodies, are named "Hua". The performing history of traditional operas in Qing Dynasty is also the history of the prosperity and decline of "Hua" and "Ya", that’s why the present paper is entitled "A research of the prosperity and decline of ’Hua’ and ’Ya’ in Beijing theatrical circles in Qing Dynasty."On basis o更多还原